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...writes in "Further Reflections on the Public Sphere," "Discourses do not govern. They generate a communicative power that cannot take the place of administration, but can only influence it. This influence is limited to procurement and withdrawal of legitimation. Communicative power cannot supply a substitute for the systematic inner logic of public bureaucracies" (in Habermas and the Public Sphere, ed. Craig Calhoun...

Author: NO WRITER ATTRIBUTED | Title: Cotton Can Learn From Habermas's Theory of Communicative Action | 12/8/1997 | See Source »

...Australian police, however, dismissed the notion, and signs of inner pain quickly emerged. A bottle of Prozac, the antidepressant, was found in the singer's hotel room. And on his last night, his father Kelland saw a young man in some turmoil. Professionally, Hutchence had watched INXS's last album fail, and suffered the indignity of young rockers like Noel Gallagher of Oasis dismissing him as a has-been. During dinner at Flavour of India, the elder Hutchence told Michael, "Son, I'm worried about you." The singer replied that he was "fine," but barely touched his food, opting...

Author: /time Magazine | Title: HOW COULD HE HAVE DONE IT? | 12/8/1997 | See Source »

...Illustrated by one Edvis (whose goofy, facile style is as reminiscent of Phil Foglio as it is of Schrab), the book somehow manages to make immature, violent, half-cyborg mafiosi extraordinarily lovable. And Scud's silent sidekick Drywall--a little creature whose zippered skin leads into a infinitely large inner warehouse where he can store anything he needs--has for some reason become extremely popular among the readers of "Scud", and recently merited his own book (called, of course, "Drywall: Unzipped...

Author: By Susannah R. Mandel, CRIMSON STAFF WRITER | Title: KILLER Comics | 12/5/1997 | See Source »

...film's acting is generally above average; unfortunately, that's not quite enough to make things work in a film so character-oriented as Bent. Owen's Max is conventionally handsome and is good at looking worried, but he doesn't quite succeed in letting us see into his inner world. It doesn't help that the chemistry between him and his first lover, Rudy, is almost nonexistent. Webber as Rudy exaggerates the younger man's submissiveness to the point that the character becomes almost infantile--while we sympathize with his helplessness, he's petulant enough to alienate the audience...

Author: By Susannah R. Mandel, CRIMSON STAFF WRITER | Title: Melodramatic and Moody 'Bent' Translates Poorly to Film | 12/5/1997 | See Source »

Criticizing the liberals, however, becomes difficult. As Keillor portrays them, they are either militant freaks of society who fight for ridiculous-sounding causes, or else self-obsessed inner children who whine when they should be working. "New Age music," John grumbles in his head, "[is] relaxation music for yuppies to listen to and get even farther into themselves than they already were." Readers cannot help but despise as well as laugh at his descriptions of people so untouchably far from reality. To defend them, particularly the ones who persecute John so suddenly and relentlessly, is to become one of them...

Author: By Sarah A. Rodriguez, CRIMSON STAFF WRITER | Title: Sweet Home Minnesota | 12/5/1997 | See Source »

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